"She will never learn the most necessary, most difficult and principal thing in music, that is time, because from childhood she has designedly cultivated the habit of ignoring the beat." Letter to Leopold Mozart (24 October 1777)
Whenever I think of the joy of a new life, it is very often that the Stevie Wonder classic “You Are The Sunshine Of My Life” comes into my focus.
Whenever I think of the joy of a new life, it is very often that the Stevie Wonder classic “You Are The Sunshine Of My Life” comes into my focus.
One of the most enthusiastic songs and videos of the late 20th century was a-ha’s “Take On Me.”
It is known as one of the “truly great pop songs” of the era. This video is the great story of the song –
No comment I read in public said it better than this on YouTube® –
“The interesting thing here is that the song was composed before they even met Morten, and still it appears to be written exactly for his vocal range There are very few singers who have volume and expression across more than two octaves. The riff and the refrain were created independently from each other but still it all fits together so nicely and organically.”To me, the coolest thing about the entry of the drums with a savage rawness that makes this song one that “will outlive [me],” as Phil Collins referred to himself and how the song has become more famous than *he*is.
There are many opinions as to how fast In The Air Tonight by Phil Collins is.
These are the times I measured it.
To me, the coolest thing about the entry of the drums with a savage rawness that makes this song one that “will outlive [me],” as Phil Collins referred to himself and how the song has become more famous than *he*is.
The universality of being able to feel as though something is going to happen, especially at night, with an intensity that in the hands of most writers doesn’t translate. That is what music is for, correct? To express messages of any kind in a way humans have done far before their were any etchings on any cave walls.
But let me not drown (he’d throw me a lifevest if I was drowning, Phil would)
That sounds like it could be a bummer, but it is not! If someone told Shakespeare that in 600 years parents would still be naming their children Romeo and Juliet [and all the other turns of the English language that dates back to and were formed by the creation and performance of his dramas], would he even have believed it?
/matherton’s stepfather/
When I heard this track on the day it was released, I thought to myself: there is much more to this man than just being a [colored man] from Chicago with a nice flow.
When I heard this track on the day it was released, I thought to myself: there is much more to this man than just being a [colored man] from Chicago with a nice flow.
When I was a child on Chicago many restaurants were open at lunch and had bands like you hear about he Beatles in Hamburg now. That, but simple lunch. I remember strolling around Chicago at 4-6 years old, with all the bad memories cut out (our memories are so pink sometimes – well, mine are), and the songs in my time, in my parents’ library was essentially – Bach, Beethoven,
Beatles, Bacharach, Debussy, Ravel – as my dad was an eye surgeon [in training] at Northwestern University and the aforementioned composers set me on a path of [Pat Metheny / Lyle Mays] addiction and the conviction that with no way to explain this to myself – and this is true not only for a high percentage of not only musicians and non-musicians, that there were certain still un-copyrightable [grove patterns]. That said, if any of us make it to heaven you know Bo Diddley is going to be there. Can you image if could have copyrighted the foundation of 1/2 of pop music?
Bo DiddleyIn that light, I think Kanye can pick up the Bo Diddly torch and with reason and mercy and ease over whining and having reason bypassed straight to slogans where Socrates would even say: I thought this would have stopped by now, by good for Mr. West.
Rudy Kirgurg, with feedback from Nicholas Ascenscion
/180428/
“Suzanne” by Leonard Cohen, performed by Judy Collins | 5 unclassified matherton diagrams w video embedded
A lot of women would say at Genesis concerts: “Follow You You, Follow Me” is my favorite sing by this band. Men liked it because in the days that we Genesis fans brought girls to shows in the 1970s-2007, well, we knew we were labeled as “Dorks beyond…”
Follow You, Follow Me is a song Genesis wrote for their album AND THEN THERE WERE THREE. The reason for the title was that The Five member band had lost Peter Gabriel, who, uh, did pretty well on his own – in 1974. Peter’s family had an illness within and he had no moral choice but to leave the band. In Nicholas Nassim Taleb’s construction of a Black Swan event, Peter Gabriel’s solo career, beginning from the new sound that *popped* out of his first albums, and Peter’s creativity shows no sign of waning.
Both Gabriels’s and Genesis’ career [American grammar] along with Phil Collins’ career meet the theory I made up with no authority at all. It is called the The Edmund Fitzgerald rule (“TWOTEFR”). The surviving families of the Edmund Fitzgerald honored Mr. Lightfoot by asking him personally to write a song commemorating the twenty-nine lives that were lost on the wreck of the Edmund Fitzgerald.
I have never met Gordon en persona, yet musically, I was lucky enough to hear the song in my wife’s hometown of Philadelphia. Dr. Lightfoot played the same 12 string throughout most of his show, including TWOTEFR. My inductive hypothesis that might be garbage That song, in my opinion could ONLY have been written by Mr Lightfoot. I had to be (or not, I am a huge Nassim Nicholas Taleb reader, and I know I’m on thin ice here).
Gordon’s monologue continues, “I was flattered when they came to me and asked me to write an elegy like about the incident. When I first played it, I had no idea how they react. I was as nervous as I’d ever been but I can say that their appreciation is something that nothing in my career could ever surpass. I am always honored to play this song.”
The Gordon Lightfoot Rule needs a quick example: after a show in the 1980s Bob Dylan is known to have said something that is key example of TWOTEF rule – “[Sometimes after a show I think about having played a song as Like A Rolling Stone, and I say this not to brag, it just is. I think: did I actually write that song?” Meaning, simply, again, a song that the Black Swan Axiom notwithstanding, had to be. So it is not a rule as a law – it is an opinion in artistic taste. We are most careful here! I know you are if you have read this far.
A lot of women would say at Genesis concerts: “Follow You You, Follow Me” is my favorite song by this band. Men liked it because in the days that we Genesis fans brought girls to shows in the 1970s-2007, because if the women were actually happy at a show.
/n/
Norm was inside the inside the business. He had a word of wisdom in regard to *any* good piece of music, especially popular songs:
“The song has *got* to have a different, new bass-line.”
The best co-writer I ever worked with was Norman Dozier. Real name.
Norm was inside the inside the business. He had a word of wisdom in regard to *any* good piece of music, especially popular songs:
“The song has *got* to have a different, new bass-line.”
Who am I to ever question Norman? I cannot say enough about the positive influence he had on me and New York City in general. I especially thank the organist Mollie Nichols for introducing me to and arranging the playing of new music written mostly by me.
So said: the orchestration was all Norm, and the orchestration of our version of Psalm 113 squeaked in the morning service with Bach, Vaughn Williams and others I have no right to name drop. Norm helped fit our hymn in the genre of modern classical. I have total respect for the rock n roll night services and the amplifiers and drums and keyboard samples – anything that flies your plane – but not at a Sunday morning 10:30 Episcopal service – for my taste.
What do you think of this song?
Thanks!
/dm/
median speed 
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